Tom Huddleston

Too much of the humour derives from Emily’s insatiable appetite for booze, food and sex, while the central mother-daughter relationship is predictable.

There’s plenty to enjoy – a handful of smart one-liners, a few nifty shocks and one truly unsettling confrontation in a cemetery – but nothing to give Joss Whedon a run for his money.

It’s hardly high art, but for a cheapjack homegrown action flick this is surprisingly solid.

The result is just a bit cringey.

Cox is rudely magnificent, capturing not just the wilfulness of the man but the nagging self-doubt at his inner core. But the film is just too bloodless to be fully convincing.

If you loved the game, you might enjoy watching the script contort itself into ever more zany shapes to incorporate the necessary elements: giant slings, teetering towers, boomeranging toucans. But it’s not enough to counteract the tiresome, sub-Lego Movie snarkiness of the script or the bright, busy and unengaging animation.

This is tame, lifeless stuff.

By the end, even Hanks looks a bit bored.

The Great Wall is not exactly a good movie – but it’s a pretty enjoyable one.

As ever with this series, the shocks are cheap but effective, and the shaky-cam aesthetic adds an unsettling layer of realism (if you’re willing to overlook the innate ridiculousness of the film-everything concept).

There’s too much story to cram into one film, with the result that the three surly teenagers themselves – who would have made far more compelling central characters – are pushed to the side. And with their own legal team surely keeping a close watch, Egoyan and his scriptwriters are unable to point fingers in any meaningful way. A missed opportunity.

It’s all so horribly cynical, with every line, every twist and every note of music painstakingly focus-grouped to extract maximum cash value from the audience.

It quickly devolves into predictable shock tactics, drippy wartime romance and scenes in which the characters leaf tremulously through Victorian photo albums and spout exposition.

Child 44 is a striking example of how a single, wrongheaded choice can doom an entire movie.

There are a handful of really interesting scenes.... But for the most part Passengers is so anodyne, so frightened of the ethically troubling opportunities inherent in the setup that it just ends up feeling forgettable and silly.

While Monster Trucks may be bizarre, haphazard and deeply silly, hey, it’s a movie about monsters that live in trucks. It was never going to be Citizen Kane.

This hugely entertaining oddity could never be mistaken for the work of any other filmmaker.

Much of the film's impact stems from a pair of remarkable lead performances.

Psychologists would doubtless have a field day with the film’s lumpy brew of semi-incestuous paternal angst, midlife machismo, all-American dick-swinging and moderate racism, but we imagine most of them are too busy to waste two hours on this sludge.

This is one mad mess from start to finish... But the sheer ambition is impossible to ignore, and the sense of fun is infectious: you may fear for your sanity during Jupiter Ascending, but you’ll come out smiling.

With some dire blue-screen effects, dizzying tonal instability and a total absence of suspense or originality, "Wolverine" is something of a disaster.

Drab, silly and mind-numbing, this Dracula is strictly for the suckers.

There’s really nothing to recommend ‘Sea of Monsters’: the young cast are smug and forgettable; the action sequences barely get going before they’re over; and the whole affair is riddled with product placement and pop cultural references – one girl even seems to possess a magic iPad. Keep the kids at home

Thanks to ‘Taken’ director Pierre Morel, this too often feels like just another slice of brainless Eurotrash, packed with saw-it-coming plot twists, half-hearted car chases and an angsty hero with mega muscles and zero charisma.

Fans of the Stath and his inimitable oeuvre may find just enough shooting, punching and snarling to keep them satisfied. But those who enjoy proper movies are urged to steer clear.

The filmmaking is solid, the performances strong and the tunes are pretty terrific. But this is too wary of controversy – and too ‘respectful’ of the fans – to treat its subject to the hard-headed analysis Tupac’s legacy deserves.

Extraterrestrial doesn’t amount to much beyond a mish-mash of movies we’ve seen before.

There are times when Cell feels like a surreal pastiche of po-faced apocalypse movies. But no such luck: this is every bit as bad as it appears.